Natalie Krick joins the roster at Esthetic Lens with her Creative Quarantine interview. She brings us up to speed on her recent collaborations, existing in the in-between space of the pandemic, and introducing new materials to her practice.
1. How are you holding up?
I’ve been having nightmares. I am a bit of a mess but I don’t think I could be any other way at this moment.
2. Has Covid-19 had an effect on your work? If so, in what way?
I had a solo show at SF Camerawork right before the shutdown. I really can’t believe how lucky I was with the timing. I think the exhibition closed one day ahead of schedule. Since the pandemic hit I have been busy in the studio. I think it’s too early to say what effect this moment has had on my work except it has kept me busy and focused.
3. Is there anything you’ve added to your practice that you’d like to keep after this is over?
Yes! A few things really. I’ve been collaborating with two of my friends on two different projects. Jenny Riffle (who is my upstairs neighbor) and I have been working on editing an experimental film project that we shot last year. We’re very much inspired by horror films, the haunting forests of Washington state, and the monstrous feminine. Also, I’ve been collaborating with Clarissa Bonet who is based in Chicago. Clarissa and I went to grad school together at Columbia College Chicago and we’ve stayed close friends ever since. Our collaboration revolves around our shared frustrations of the photographic medium and the history of photography. We’re playing around with photographs and sending them back and forth and it’s really fun. We currently have a piece up in the Photography & _____ exhibition at Catherine Edelman Gallery in Chicago.
Also … I’ve really taken this time to play in my studio. Floating in LIMBO isn’t a great feeling but it’s such a different headspace. I’m usually future-tripping but now the future is completely out of reach so in a way I can only exist in the present (with a certain amount of dread looming over). There’s something about this in-between space that has opened things up for me. I’ve been incorporating new materials into my work…resin, mirrors, blue window film…things are becoming more sculptural. I’ve also been making some faux gem trompe l’oeil earrings.
4. Of the artists you follow, who is handling this particularly well?
5. Are there any artists, albums, or genres of music you’ve been drawn to during the crisis? If so, why?
I’ve been on a podcast kick and I haven’t been listening to much music BUT my partner just told me about the footwork scene in Chicago and my mind exploded.
Natalie Krick (B. 1986) holds a BFA in Photography from the School of Visual Arts and an MFA in Photography from Columbia College Chicago. Her work has recently been exhibited at SF Camerawork, The Museum of Contemporary Photography, Aperture Foundation, and Blue Sky Gallery. Her photographs have been highlighted in several international publications including BOMB, Vogue Italia, The New Yorker, PDN, Aperture, and Vrij Nederland. She was awarded the Aperture Portfolio Prize in 2017 and was a recipient of an Individual Photographer’s Fellowship from the Aaron Siskind Foundation in 2015. Natural Deceptions, her first book, was published by Skylark Editions in the Fall of 2017. Her photographs reside in the collection at the Museum of Contemporary Photography.
Natalie Krick can be found online:
Skylark Editions: Natural Deceptions